Search

The Admiral William Mead photograph album contains approximately 250 photographs related to the family and career of U.S. Navy Rear Admiral William Whitman Mead.

The Admiral William Mead photograph album contains approximately 250 photographs related to the family and career of U.S. Navy Rear Admiral William Whitman Mead.

The album (35.5 x 29 cm) has pebbled covers with partial leather bindings and "Photographs" stamped on the front cover and contains around 250 photographs of various sizes and formats, including collodion, gelatin silver, platinum, silver platinum and albumen prints, cyanotypes, and snapshots. The spine and edges show considerable wear. The photographs chronicle three periods in Admiral Mead's naval career: his time as lighthouse inspector in the Great Lakes, and his assignments as commandant of the Newport, Rhode Island naval base and Portsmouth Naval Shipyard in Kittery, Maine. Additionally, there is at least one photograph towards the front of the album from the Lomaland School in San Diego as well as a series of others mostly located towards the back of the album that were taken in an unidentified tropical location (possibly Florida).

Some of the album’s captions, primarily in beginning and the lighthouse section, appear to have been first added when it was originally assembled and many are partially erased. The majority of captions, however, were contributed at a later date by Admiral Mead’s niece, Annie Adelia Mead Ferguson. Annie appears to have come into possession of the album at some point and added her own annotations identifying people and places she recognized in the photographs. She also added a handwritten note to the inside of the album’s front cover in 1970 indicating that the album had once “belonged to William Whitman Mead” before explaining that she captioned certain images herself and speculating on which of her children might want to inherit the album. It is unclear who originally took many of the photographs, though there are indications that Annie's mother Unadilla Gazlay Mead may have contributed some material. One photograph on pg. 32 shows Unadilla and her husband Omar C. Mead, Admiral Mead’s brother, posing together on a dock in either Portsmouth or Newport while the former can be seen holding a camera in her hands, while on pg. 44 there is a self-portrait taken in a mirror of a woman with a camera that appears to be Unadilla.

The album provides extensive documentation of lighthouses along the shores of Lakes Superior and Huron in the mid-1890s, as well as views from Great Lakes locations such as Duluth, Copper Harbor, and the locks at Sault Ste. Marie. Specific lighthouses represented include Seul Choix Light, Old Mackinac Point Lighthouse, Sand Island Lighthouse, Huron Island Lighthouse, Isle Royale Light, an abandoned lighthouse on Isle Royale, a pair of unidentified lighthouses possibly located in the Keweenaw Peninsula, Windmill Point, a lighthouse in St. Clair Flats, Gull Rock, Stannard’s Rock, Rock Harbor Light, and other unidentified structures. Images related to Admiral Mead’s time at the Newport naval base include portraits of Mead both in and out of uniform, portraits of family members such as Julia Mead, a collotype postcard of Trinity Church, and various buildings and street scenes. Images related to Admiral Mead’s time at Portsmouth Naval Shipyard include views of the Commandant’s house, “The Admiral’s Yacht,” and portraits of various individuals including John W. Yerkes, Elizabeth O. Yerkes, Amelia R. Yerkes, Annie Meade Matthews, Omar C. Mead, and Annie Adelia Meade as a young child. Of particular interest are a number of candid shots of locations and participants in the Portsmouth peace talks that ended the Russo-Japanese War in 1905 (including several photographs of three unidentified Japanese men described as “servants” in one caption) that are present on pgs. 30, 36, 37, and 39. While most of the ships that appear in the album are unidentified, identified vessels include the passenger steamer North Land on pg. 16 and the lighthouse tender Marigold on pg. 23. Other individuals identified by caption include Robert A. Watts (Admiral Mead’s brother-in-law) and Margaret A. Watts (Admiral Mead’s mother-in-law). Also present are three outdoor portraits of unidentified African American men and women on pg. 21 captioned “Those good ole’ days!!” and “Same good ole days!” as well as a cyanotype of an unidentified African American girl on pg. 48.

The Chilocco Indian School collection consists of 1 piece of realia, 1 school yearbook, 1 pamphlet, 1 manuscript, 1 graduation certificate, and 107 photographic images in various formats related to the Chilocco Indian School in northern Oklahoma.

The Chilocco Indian School collection consists of 1 piece of realia, 1 school yearbook, 1 pamphlet, 1 manuscript, 1 graduation certificate, and 107 photographic images in various formats related to the Chilocco Indian School in northern Oklahoma. Many of the images are portraits of individuals, structures, and activities associated with the Chilocco Indian School; most are individual and group portraits of Native Americans, but there are also several images showing school buildings, agricultural activities, sports teams, and white American adults and children. The majority of the images are real photo postcards from the 1910s.

A total of 16 tintypes (mostly 8 x 5 cm) are present in the collection. Included are studio portraits of Native American men, women, boys, and girls wearing western clothing. Many of the tintypes have been moderately hand-colored. None of the subjects nor their tribal affiliations have been identified.

Also present are 18 photographic prints (6 unmounted and 12 mounted). The 6 unmounted prints are all 11 x 6.5 cm snapshots taken in 1920 that appear to have been taken by tourists and were once stored in a photograph album. Inscribed captions include the following: "Gold Fish Pond Chilocco OK 1920"; "Three Indian Boys"; "View of the lake at Chilocco"; "Little Girls Dormitory at Chilocco Government School 1920"; "Dairy at Chilocco"; "Chilocco OK Indian School Stadium 1920." Of the mounted photographs, there are 10 of approximately the same size (8.5 x 6.5 cm; all albumen prints) that show individual and group studio portraits of Native American men, women, boys, and girls. The remaining two mounted photographs (12.5 x 8.5 cm and 10.5 x 6.5 cm respectively; both albumen prints) are studio portraits of a very young Native American girl and a Native American boy with his mother which bears the verso inscription "T. Wolf." None of the subjects nor their tribal affiliations have been identified.

Real photo and photomechanical postcards (mostly 14 x 8.5 cm) make up the remaining 73 photographic images in this collection. Most images consist of individual and group portraits of Native American and white people, the latter of which many appear to have been affiliated with various Indian Agencies and/or boarding schools.

Items of particular interest include an image of a young Native American boy captioned "Jim McKay's kid"; a studio portrait of an unidentified Native American man by George B. Cornish; a studio portrait of a man possibly identified as "Red Fox" through an inscription on the verso; a studio group portrait of an unidentified married Native American couple captioned "New Year Eve. 08-09" in which the photographer appears to have edited the negative by painting fake snowflakes on the subjects; a group portrait of Umatilla Agency superintendent E. L. Swartzlander's children Lawrence and Inez; views of Chilocco Indian School buildings such as Haworth Hall, Home One, the Printing Department, and the inside of a classroom; and three photographs showing young men dressed in World War I-era army uniforms.

Sports-related images include group portraits of the 1912-13 Chilocco men's basketball team, the 1906 and 1915 Chilocco women's basketball teams, the 1945-46 Chilocco men's football team, and a Chilocco men's baseball team from an unknown year.

A relatively small number of postcards have been signed. Of the postcards that have signatories, there are eight signed by Samson B. Harjo (Seminole; name also spelled "Sampson B. Harjo"); one signed by "John Wolf" (tribal affiliation unknown); one signed by "Silas Beal Brown"; three signed by Chief Tishomingo's grandson Joe F. Factor (Chickasaw); and five signed by Umatilla Agency clerk Alvin Barbour.

The Alvin Barbour postcards (6 in total) are the only postcards in the collection that contain correspondence. Writing from Pendleton, Oregon, Barbour was in communication with a girl at the Chilocco Indian School named "Anna" of unknown tribal background who appears to have come from the Umatilla Agency. In one postcard with a view of a school building dated March 4 1914, Barbour expresses delight that Anna was "pleased with the pennant" he sent her and that he hopes it will "remind you of home and of the sender." In another postcard bearing an outdoor portrait of Barbour dated April 18 1914, Barbour states that he is glad Anna has recovered from an illness and that he sent her some Easter lilies. Two postcards dated April 27 1914 show images of Barbour and a Native American girl from the Umatilla Agency identified as "Ruth" taking turns sitting on a fallen tree trunk. Two postcards do not bear any correspondence and include an outdoor portrait of Barbour (signed "Yours very truly, Alvin Barbour") and an unsigned outdoor group portrait of Barbour with two other men posing on a bridge.

The realia item is a double-handled silver basketball trophy (10 x 15 x 6 cm) bearing the engravings "Chilocco Basket Ball League 08" and "Bird's Head - Escudero - Du Bois - Taylor - Jones." The trophy was awarded to "Team Jones" in 1908 after they won all four of their matches in their five-team intramural league. "Bird's Head" may possibly be Jesse Bird's Head, while "Escudero" may possibly be Cipriano Escudero (approximately 1882-?).

Printed publications include a 1932 Chilocco Indian School senior class yearbook as well as an illustrated libretto and associated program from a 1907 Chilocco Indian School production of Hiawatha. The front cover of the libretto bears the inscription "Lulu Gregory, Tonkawa, Okla."

The manuscript item consists of a three-page handwritten document regarding the "Crimson" flag of an unidentified University Preparatory School (possibly the Tonkawa U.P.S.) and its importance being "similar to that of the Stars & Stripes to the United States." The document is unsigned and undated.

Also present is a graduation certificate (51 x 40.5 cm) granted by the Chilocco Indian School in 1897 to Myrtle M. Long (tribal affiliation uncertain). The diploma was signed by Superintendent Benjamin F. Taylor, principal teacher Philena Everett Johnson, and teacher Anna D. Burr.

The David V. Tinder Collection of Michigan Photography consists of over 100,000 images in a variety of formats including daguerreotypes, ambrotypes, tintypes, cartes de visite, cabinet photographs, real photo postcards, stereographs, and mounted and unmounted paper prints. The collection is primarily made up of vernacular photographs of everyday life in Michigan taken by both professional and amateur photographers from the 1840s into the mid-twentieth century. In addition to supporting local history research, the collection has resources for the study of specific events and subjects. Included are images related to lumbering, mining, suburbanization; the industrialization of cities; travel and transportation; the impact of the automobile; the rise of middle-class leisure society; fashion and dress; ethnicity and race; the role of fraternal organizations in society; and the participation of photographers in business, domestic, and social life. The collection is only partially open for research.

The subject contents of different photographic format series within the Tinder collection vary, depending in part upon how each format was historically used, and the date range of that format's popularity. For example, cartes de visite and cased images are most often formal studio portraits, while stereographs are likely to be outdoor views. Cabinet photographs are frequently portraits, but often composed with less formality than the cartes de visite and cased images. The postcards and the mounted prints contain very diverse subjects. The photographers' file contains many important and rare images of photographers, their galleries, promotional images, and the activities of photographers in the field. See individual series descriptions in the Contents List below for more specific details.

Included throughout are images by both professional and amateur photographers, although those by professionals are extant in far greater numbers.

The Gerald T. and Charlotte B. Maxson printed ephemera collection contains over 5,000 pieces of assorted ephemera, the majority of which were commercially printed in the United States during the mid to late 19th-century.

The Gerald T. and Charlotte B. Maxson printed ephemera collection contains over 5,000 pieces of assorted ephemera, the majority of which were commercially printed in the United States during the mid to late 19th-century.

The Maxson collection provides a valuable resource for the study of 19th-century visual culture, commercial advertising, and humor in addition to the role of gender, ethnicity, and race in advertising. American businesses are the predominant focus of the collection, though many international businesses are also represented. While trade cards are by far the most prevalent type of ephemera found in this collection, an extensive array of genres are present including die cut scrapbook pieces, photographs, engravings, maps, serials, and manuscript materials.

The 23 binders that house the Maxson collection were arranged by the collectors themselves. Items are organized somewhat randomly in terms of topical arrangement. While pockets of related materials can be found here and there (for instance, the entirety of Volume 16 contains circus-related items while Volume 11 contains an extensive number of Shaker-related materials), for the most part any given subject may appear in any given volume. In some cases, items are clustered as a result of having been acquired together or due to a documented common provenance. Occasional typed annotations written by the Maxsons help provide additional context for certain items.

The Maxson Collection Subject Index serves as a volume-level subject index for materials found throughout the binders. The subjects indexed here are generally representative of both visual and commercial content. In addition to more general subjects, many names of specific people, places, buildings, events, and organizations that appear in the materials have also been listed. Researchers engaging with this collection should be aware that they will encounter numerous examples of racist caricatures, especially ones depicting African American, Native American, Irish, and Chinese people.

The Grosvenor L. Townsend scrapbooks consist of 7 volumes containing newspaper clippings, photographs, halftone prints, correspondence, ephemera, printed materials, maps, realia, telegrams, and other miscellaneous documents and materials related to the military career of Grosvenor Lowery Townsend.

The Grosvenor L. Townsend scrapbooks consist of 7 volumes containing newspaper clippings, photographs, halftone prints, correspondence, ephemera, printed materials, maps, realia, telegrams, and other miscellaneous documents and materials related to the military career of Grosvenor Lowery Townsend. Newspaper and journal clippings were mainly taken from New York-based publications. Most of the clippings are in extremely fragile condition. Many clippings are coupled with inscriptions indicating the name and date of the publication they were taken from. Numerous photographs also bear inscribed captions. Each volume measures approximately 25 x 19 cm in size and has marbled paper covers.

• This volume contains materials related to Townsend's service in the New York National Guard, 7th Regiment, Company D, between 1893 and 1894. Items of particular interest include a Grand Army of the Republic report regarding the 7th's service record in the Civil War and during various New York City riots (pg. 1); a group portrait of 7th NYNG Co. D soldiers, including Townsend (figure furthest to the right), at an encampment in Peekskill, New York in June 1893 (pg. 5); clippings related to a mock Civil War battle held at Van Cortlandt Park (pg. 11); clippings related to Townsend's promotion from private to lance-corporal (pg. 13); clippings from the New York Herald and New York Tribune regarding the 7th NYNG relocating to the Seventh Regiment Armory (pgs. 42-45); a group portrait of 7th NYNG members at Sea Girt, New Jersey, in July of 1894 during a visit with New Jersey National Guardsmen (pg. 67); and Townsend's Lance Corporal chevrons (pgs. 92, 93).

• This volume contains materials related to Townsend's service in the New York National Guard, 7th Regiment, Company D, during 1896. Items of particular interest include an engraving depicting Company D winning a chariot race at the 7th Regiment games (pgs. 28, 29); a New York Herald clipping from May 31st 1896 regarding the 7th NYNG's victory over West Point in a baseball match (pg. 39); an American Lithographic Co. halftone reproduction of a Jay Hambidge painting showing the 7th NYNG marching in uniform titled "For Love or War?" (pg. 43); clippings regarding the new regimental clubhouse at the Creedmoor Rifle Range (pg. 45); a private circular for NCOs regarding a regimental parade in honor of Chinese viceroy Li Hongzhang as well as a halftone portrait of Li (pgs. 46, 47); and cartoons from the 7th Regiment Gazette of December 1896 comically depicting track and field events (pg. 61).

• This volume contains materials related to Townsend's service in the New York National Guard, 7th Regiment, Company D, from 1897 to May of 1898. Items of particular interest include a photographs of 7th NYNG officers and NCOs (pgs. 2, 3); halftone images from a 7th NYNG camp (pg. 7); a New York Sun clipping from October 10th 1897 regarding a mock battle at Van Cortlandt Park replete with a topographical map of the park (pg. 11); a New York Herald clipping from October 10th 1897 showing engravings related to "The Battle of Van Cortlandt Park." (pgs. 12, 13); a Harper's Weekly clipping from October 1897 showing halftone reproductions of paintings related to the mock battle at Van Cortlandt Park (pgs. 14, 15); camp scene photographs from June 1897 including one portrait of Townsend in uniform (pg. 23); halftone images showing interior rooms of the Seventh Regiment Armory (pgs. 25-28); a halftone reproduction of an engraving showing 7th NYNG uniforms from 1802 to 1897 (pg. 33); a halftone reproduction from Harper's Weekly vol. 42 no. 2157 of a painting by T. De Thulstrup showing the 7th NYNG being reviewed by Major General Charles F. Roe at the Seventh Regiment Armory (pgs. 76, 77); and multiple clippings related to the 7th NYNG's decision to refrain from allowing members to individually enlist in the regular US Army at the outset of the Spanish-American War so as not to disintegrate the unit (pgs. 82-91).

• This volume contains materials related to Townsend's service in the 201st Infantry Regiment of New York Volunteers as well as in the US Army 1st Infantry Regiment covering the period from March of 1899 to February of 1900. Items of particular interest include clippings related to Townsend's promotion from Captain of Company M 201st NY Volunteer Infantry Regiment to Second Lieutenant in the US regular army (pg. 5); letters from Townsend to his parents regarding exams he must take at Fort Monroe, Virginia, in order to achieve his promotion (pgs. 8, 9); a picture book containing halftone images from around Fort Monroe (pg. 11); a photograph showing a Fort Monroe examination room black board coupled with text of the example question present on the board (pg. 17); a copy of Townsend's commission as Second Lieutenant (pgs. 22, 23); clippings related to the naval transportation of American troops to Cuba (pg. 33); photographs of various Cuban scenes including an ossuary outside of Havana, Cuban huts and houses, Cuban soldiers being paid, American camps and barracks, a Cuban funeral, Afro-Cubans, underbrush near the mountains, a general view of Pinar del Rio, American military officers and their wives, and American troops in formation (pgs. 36-46, 48-55); a memorandum concerning the administrative use of officers' photographic portraits (pg. 59); photographs showing scenes of Guanajay and Pinar del Rio, Company K rifle ranges, American officers including Lt. McCue, Lt. Tebetts, Lt. Reams, Lt. Beacham, Lt. Wilcox, Dr. Dunchie, and Lt. Reeder, child golf caddies (including a Chinese boy named Ah Soy), a Cuban house being constructed out of palm tree materials, American officers and their wives, a Cuban burial party, soldiers on the march and drilling, an American military graveyard, Cuban ox carts, a railroad station, and churches (pgs. 60-66, 68-82); a clipping including an advertisement for "Mahara's Minstrel Carnival" (pg. 84); and more photographs showing American officers and their wives, Chinese-Cubans, a man posing with a white owl, a well-dressed Cuban man named "Mr. Usavraga", 2nd Battalion shelter camps, American barracks at Guanajay, a group of American officers and several women that includes both Townsend and his mother Emma, the fort at Mariel, a Cuban ship named Alphonso XIII sinking in Mariel Harbor, street scenes in San Antonio and Guanajay, and golf links at Guanajay (pgs. 91-115).

• This volume contains materials related to Townsend's service in the US Army 1st Infantry Regiment covering the period from April 1900 to December 1901. Items of particular interest include photographs showing 1st Infantry Company K assembled in uniform at Guanajay and the aftermath of a major storm at Guanajay, (pgs. 1, 2); clippings related to the potential ordering of the 1st Infantry from Cuba to China as well as Yellow Fever outbreaks among American soldiers stationed in Cuba (pgs. 4, 5); a fragment of an envelope bearing an official stamp from a US military surgeon indicating that the parcel had been "Disinfected and Passed" (pg. 9); clippings from August 1900 detailing the ordering of troops to Manila, Philippines, instead of China (pgs. 13-17); photographs showing various scenes from around Fort Leavenworth, Kansas, including the US Army Disciplinary Barracks (pg. 19-24); clippings from October 1900 regarding the capture and subsequent rescue of Capt. Devereux Shields (pgs. 28-30); clippings regarding the launch of the Samar Expedition and insurgent fighting tactics (pgs. 31-33, 40); photographs showing buildings occupied by American troops in Catbalogan, US Army officers and headquarters at Tacloban in February 1901 (pgs. 40-42); a clipping showing a map of the "Peaceful Districts in the Philippines" highlighting areas deemed unsafe for Americans to venture (pg. 46); photographs showing street scenes, Filipino villages and villagers, and landscape views (pgs. 50-54); a letter and associated hand-drawn map sent by Townsend to his mother describing an ambush against American forces in southern Samar in April of 1901 during which Townsend came under fire from a rifle he believed to have belonged to an American soldier who had deserted (pgs. 55, 56); a letter from Townsend to his mother in April of 1901 describing the visit of a group of Palauan tribesmen and counterinsurgency operations (pg. 57); photographs taken by Townsend of the Palauan tribesmen (pgs. 58-60); photographs from around Guiuan, including the U.S. Army headquarters, a 200 year old church door, Lt. Downes and Townsend's quarters, and images of a church and locals in Mercedes (pgs. 62, 63); clippings related to the death of Lt. Downes and Lt. McClure (pg. 68); a typescript copy of a letter initially sent by Townsend to Capt. Willard C. Fisk from July 1901, which the latter forwarded to Townsend's parents, describing engagements in Samar including one that led to Townsend being stabbed in the forearm (pg. 70); clippings related to the death of Lt. Downes and the Balangiga Massacre (pgs. 71-76); a letter from Townsend to his mother dated Oct 5 1901 describing the Balangiga Massacre and how his detachment were very nearly sent there (pg. 77); Townsend's Second Lieutenant bars (pg. 78); and a clipping describing innovative traps used by the Moros against American soldiers (pg. 79).

• This volume contains materials related to Townsend's service in the US Army 1st Infantry Regiment covering the period from 1905 to September 1907. Items of particular interest include a group portrait showing Townsend, other U.S. Army officers, and several women (including Cornelia T. Getty) standing in front of a house in Canada with snowshoeing equipment (pg. 3); clippings related to Fort Brady and a roster of troops serving in the Department of the Lakes as of August 15th 1905 (pgs. 5-7); clippings related to renewed unrest in China and the shipment of more U.S. troops to the Philippines (pg. 10, 12); clippings related to the transportation of American troops to the Philippines (pgs. 18, 19); clippings related to the celebration of George Washington's birthday at a ceremony in Gibraltar in February 1906 (pgs. 24, 26); a letter from Townsend to his mother from aboard the USS McClellan near Sri Lanka in April 1906 describing the conditions of the ship and the progress of the journey thus far (pg. 36); a typescript summary of Townsend's military career as of July 1906 (pg. 49); panoramic views of Camp Stotsenburg (pgs. 58, 64); a clipping regarding an earthquake in the Philippines in April 1907 (pg. 69); a typescript copy of a memo from September 1907 titled "Regarding the Government of the Philippine Islands With Special Reference to the Subject of Police Protection" (pg. 80); and photographs by Pedro Casanave of the S.S. Mindoro and of "Calle Gen. Hughes" in Iloilo City (pgs. 87, 88).

• This volume contains materials related to Townsend's service in the US Army 23rd and 1st Infantry Regiments covering the period from August 1909 to August 1910. Items of particular interest include a roster of officers and troops on duty at the Army Service Schools, Fort Leavenworth and the US Military Prison as of November 1909 (pg. 5); a studio portrait of Townsend in uniform taken at Fort Leavenworth (pg. 7); a copy of the September 1910 issue of the Infantry Journal by The United States Infantry Association containing an article written by Townsend titled "The Use and Effect of Flying Machines on Military Operations" (pg. 25); clippings related to practice maneuvers at Pine Camp, New York (pgs. 28-39, 49-58); halftone images showing camp scenes at Pine Camp (pgs. 47, 48); and photographs showing Townsend in uniform, Townsend's parents Malcolm and Emma, and what may have been the Townsend family residence (pg. 59).

In addition to this finding aid, the Clements Library has also created the G. L. Townsend Scrapbook Inventory which serves as an itemized list of the contents of each scrapbook.

The Salomon family photograph album contains 55 photographs of friends, family members, and religious and political figures compiled by the family of Haitian President Lysius Salomon.

The Salomon family photograph album contains 55 photographs of friends, family members, and religious and political figures compiled by the family of Haitian President Lysius Salomon.

The album (30 x 22.5 cm) has embossed brown leather covers, gilt edges, and a metal clasp; it was produced and copyrighted by English firm T. J. Smith, Son, & Co. under the product name “Album Arbora.” A gilt-print index accompanied by a quote from Henry Wadsworth Longfellow on pg. 2 lists the locations of 13 decorative illustrations of various “Flowering Shrubs” found within the album.

Photographs mainly consist of carte de visite and cabinet card studio portrait photographs of various men, women, and children taken between the 1860s and 1880s. Also present is a souvenir from the funeral of a young Frenchman named Pierre Bertagne who passed away in 1925 at the age of 25 (between pgs. 2 & 3; includes a portrait of the deceased). Works of Haitian, French, English, German, Jamaican, Italian, Curaçaoan, Puerto Rican, and American photographers are represented. Black, white, and mixed subjects are included, and most individuals are unidentified. Eight portraits of President Salomon appear throughout the album; also present are photographic reproductions of illustrated portraits of Pope Pius IX (pg. 3), Italian statesman Giuseppe Garibaldi (pg. 7) and Prime Minister of Madagascar Rainilaiarivony (pg. 9) as well as a photographic portrait of Victor Emmanuel II, King of Italy (pg. 10). Numerous portraits of Catholic priests are also included.

Besides Lysius Salomon, other members of the Salomon family that may possibly be represented in the album include his second wife Florentine Salomon (pgs. 11, 15, and loose image between pgs. 40 & 41), daughter Ida Salomon Faubert (loose image between pgs. 40 & 41 and loose cabinet card between pgs. 42 & 43), and grandson Raoul Faubert (ca. 1920s real photo postcard, loose between pgs. 24 & 25).

Several photographs include inscriptions in French. Many of these inscriptions indicate that a photograph was given as a souvenir to either President Salomon himself or to Mrs. Salomon (presumably Florentine Salomon). For instance, on pg. 19 a portrait made in 1882 of a French priest of “Abbé de Aldrovandy” in Paris bears an inscription addressed to “Monsieur le General Salomon, President de la Republique D'Haiti,” indicating that the subject desired to have a fellow priest named Mathieu send this photograph to Salomon upon his death; a second inscription (presumably written by Mathieu) states the gentleman pictured has passed away and that his wish is being fulfilled by the portrait being sent to Salomon. Pg. 21 includes portraits of two women with inscriptions made out to “Mme La Presidant” and “Mde. Salomon” respectively, as well as a portrait of a young black man bearing an inscription in French that translates to: “Gratitude to our respectful and revered Father Le Duc de Saint Lous du Sud, President of the Republic of Haiti.” Also present on pg. 31 is a cabinet card portrait of the President of the Dominican Republic Fernando Arturo de Meriño with a verso inscription in Spanish that translates to: “To his Excellency General Salomon, President of the Republic of Haiti, his loyal friend Fernand A. de Merino Puerto Plata, February 5 1882.”

For conservation and preservation purposes, facsimile reproductions of each photograph have been put in place of the original photographs to replicate the arrangement of the album as it appeared when received. The original photographs are housed separately within the album container.

The Same-sex affection and gender studies photograph collection contains approximately 150 examples of photographs that illustrate closeness between subjects of the same sex as well as aspects of non-traditional gender presentation.

The collection includes photographic examples in multiple formats with real photo postcards, tintypes, cabinet cards, cartes de visite, and small format mounted photos being the most numerous. 145 images are contained in Box 1 of the collection while an additional 5 photographs on larger format card mounts are stored in Box 2. Images mainly consist of portraits of men posing familiarly with other men, women posing familiarly with other women, and portraits of groups and individuals engaged in cross-dressing. Due to the subjective nature of assessing these images combined with historical differences in what was considered socially acceptable displays of affection and the general lack of verifiable context, many of these photographs remain open to a variety of interpretations.

Numerous photographs show same-sex duos and larger groups holding hands, placing their hands on each other, leaning on each other, or demonstrating affection in some other observable way. Most subjects are unidentified, though occasionally individuals have been identified through the presence of inscriptions. In some cases, individuals pictured together have been confirmed to be relatives.

Numerous photographs of male and female individuals and groups engaged in cross-dressing are also present. In many instances, the cross-dressing most likely occurred for humorous reasons.

• Postcard showing two men embracing with the printed caption "We're looking for girls at Lansing, Mich."
• Real photo postcard bearing a studio group portrait of two men, one of whom appears to have an unbuckled belt.
• Cabinet card studio group portrait by Beardsley of Charlotte, Michigan, showing two men, one of whom holds a guitar, whose arms appear to align behind them in a manner that suggests they may have been holding hands.
• Two different group portraits of the same female couple identified through inscriptions as "Agnes Davis" and "Anna Wickerham."
• 1940s group portrait of four men included in a souvenir packet for “Swing Rendezvous,” a New York City-based lesbian/gay bar.
• Real photo postcard bearing a portrait of an unidentified man wearing women's clothing, including a dress, flower-laden hat, and beaded necklace.
• Postcard showing a man wearing women's clothing sat on a bench with the printed caption "The Male is late!"
• Outdoor portrait of two women dressed in men's clothing captioned "A pair of Peaches."
• Real photo postcard captioned "Four of a kind" showing two cross-dressed male-female couples sitting together, with the women sat in the men's laps.
• Series of four images showing a woman posing in World War I-era soldier's uniform.

The Sophie Toclanny Photograph Collection consists of 25 postcards (including 15 real photo postcards and 10 color printed cards) and 2 photographic prints, most of which were sent by Chiricahua Apache woman Sophie Toclanny to a white American family living in Pennsylvania in the early twentieth century.

The Sophie Toclanny Photograph Collection consists of 25 postcards (including 15 real photo postcards and 10 color printed cards) and 2 photographic prints, the majority of which were sent by Chiricahua Apache woman Sophie Toclanny to a white American family living in Pennsylvania in the early twentieth century.

The collection contains postcards and photographs sent by Sophie to the family of George K. (1870-1937) and Susan E. Geiser (1871-1939) living at 731 Moss St., Reading, Pennsylvania. It is unclear how Sophie came to know the Geiser family; it is possible that she made their acquaintance through either of her first two husbands, both of whom graduated from the Carlisle Indian Industrial School in Carlisle, Pennsylvania. Her messages to the Geiser family indicate that she had a close, ongoing relationship with them. Sophie inquires about Geiser family members including their son William “Bill” G. Geiser (1891-1924), refers to gifts she is sending them such as a traditional Apache cradleboard, and expresses dismay that they are not writing her as often as she would like. One undated real photo postcard bears an image originally taken by Edward Bates of an unidentified Comanche woman carrying a child in a cradleboard; Sophie's message states that “They [the Comanche] dress all to gather [sic] different from the way we dress. I am sending you one of my self in Indian dress too.” In another undated real photo postcard showing another Bates photo captioned “Apache Babe and Cradle”, Sophie writes that she is “sending you a cradle like the Apache make for their babies. On this card a real one. This was taken out in their hay camp. I am so sorry that I was so long in sending it. But hope you will like it.” A number of postcards show wear or damage on the corners, suggesting that they were likely kept in an album for some period of time.

Sophie identifies herself and other family members in several of the real photo postcards. In one photograph showing six people posing on rocks near a dam waterfall on the Mescalero Reservation, Sophie identifies herself as the individual at left “sitting down by my little sister.” The young girl in this photograph is likely Sophie’s younger sister Edith, while the “married sister” standing at right is likely Emma. Both Edith and Emma appear in multiple photographs. Unidentified individuals in the family photos include an uncle, a cousin, the husband of said cousin, and a white woman who apparently married another one of Sophie’s uncles.

Other items of particular interest include postcards with images of Apache camps in Oklahoma and New Mexico; the Apache mission at Fort Sill; the funeral of Comanche chief Quanah Parker; portraits of Indian families (including a group portrait of a Sac & Fox family by W. H. Martin), mothers, and women; and portraits of famous Native American chiefs including Sitting Bull, Geronimo, Eagle Feather, and Red Cloud. The Red Cloud postcard bears the message “From a friend you have forgotten. But she never will forget you. Ft Sill Friend.”, while the Geronimo postcard reads “I received the pretty card to-day. I was glad to get it. So in return I thought I will send you one of Geronimo. I guess you all heard of him. What ever became of William. How is little girl now. From Sophie.” The postcards bearing images of Red Cloud, Eagle Feather, and Sitting Bull are all based on reproductions of original paintings by L. Peterson that were photographed and copyrighted by H. H. Tammen in the early twentieth century. Other color printed postcards include images of Pueblo Indians selling pottery, a Pueblo Indian infant, an Indian camp scene at the 101 Ranch in Bliss, Oklahoma, and an illustrated scene of an Indian woman going over a waterfall in a canoe titled “Red Man’s Fact.”

One color printed postcard bearing a portrait of Mohawk chief Bright Canoe was produced in the 1960s and thus could not have been included by Sophie.

Several real photo postcards include photographs taken by Edward Bates (1858-1941). Based in Lawton, Oklahoma, Bates took numerous portraits of Native Americans living at nearby Fort Sill. Bates is known to have produced at least one portrait of Edith Toclanny, and it is possible that he photographed other members of the Toclanny family.

The William A. Lewis photograph collection consists of approximately 1,530 items pertaining to a wide range of visual subjects that are represented across a variety of photographic formats including daguerreotypes, cartes de visite, stereographs (which form the bulk of the collection), and glass plate negatives as well as modern slides, film strips, snapshots, and postcards.

The William A. Lewis photograph collection consists of approximately 1,530 items pertaining to a wide range of visual subjects that are represented across a variety of photographic formats including daguerreotypes, cartes de visite, stereographs (which form the bulk of the collection), and glass plate negatives as well as modern slides, film strips, snapshots, and postcards.

The subject matter of this collection is thematically and chronologically diverse and reflects the broad interests of the collector, with the U.S. Civil War and 19th-century views of American and European cities being particularly well-represented topics. The collection is organized into four main series according to subject matter and is further divided into specific subject groupings within each series. In most cases, multi-item sets have been kept together and placed within the most generally appropriate subject grouping. An extensive number of photographers and publishers are represented throughout the collection including the likes of H. H. Bennett, C. B. Brubaker, John Carbutt, Centennial Photographic Company, B. F. Childs, E. & H. T. Anthony & Company, Alexander Gardner, T. W. Ingersoll, International Stereoscopic View Company, Keystone View Company, William Notman, Timothy O'Sullivan, William Rau, Strohmeyer & Wyman, Underwood & Underwood, and F. G. Weller.

The following list provides a breakdown of every topical subsection of the collection and includes item counts for each grouping:

• Airships (11)
• Bridges (69)
• Civil War I--stereographs (91)
• Civil War II--cartes de visite, Kodachrome slides, negative film strip copies of stereographs held at the Library of Congress, postcards (48)
• Disasters (49)
• Expositions (24)
• Industry & Labor (89)
• Miscellaneous (23)
• Portraits (109)
• Railroads (62)
• Ships (80)
• War (30)

• Alaska (47)
• Arizona (3)
• California (20)
• Colorado (2)
• Dakota (4)
• District of Columbia (50)
• Florida (2)
• Hawaii (1)
• Illinois (17)
• Iowa (2)
• Maine (8)
• Maryland (27)
• Massachusetts (20)
• Michigan (31)
• Missouri (3)
• New Hampshire (10)
• New York (116)
• Ohio (2)
• Oregon (2)
• Pennsylvania (16)
• Tennessee (1)
• Texas (1)
• Vermont (3)
• Utah (3)
• Virginia (6)
• Washington (1)
• West Virginia (1)
• Wisconsin (2)
• Wyoming (2)
• Unidentified locations (35)

• Austria (5)
• Belgium (6)
• Brazil (1)
• Canada (3)
• Cuba (5)
• Czechoslovakia (1)
• Egypt (5)
• England (21)
• France (43)
• Germany (14)
• Greece (1)
• India (2)
• Ireland (4)
• Italy (22)
• Japan (3)
• Mexico (1)
• Miscellaneous (31)
• Monaco (4)
• Netherlands (1)
• Norway (3)
• Palestine (5)
• Panama (41)
• Puerto Rico (3)
• Scotland (10)
• Spain (2)
• Sweden (2)
• Switzerland (9)
• Turkey (1)

• Keystone Alaska and Panama views, set box (1)
• Stereoscope (1)

• Post-WWI Keystone views of German and American zeppelins and one real photo postcard showing pre-WWI aircraft (Series I, Box 1, Airships)
• Numerous views of the Brooklyn Bridge under construction and after completion, and the Niagara Falls suspension bridge (Series I, Box 1, Bridges)
• Views of Civil War battle sites, encampments, and leaders on contemporary mounts as well as numerous reproductions of stereographs showing important battlefield sites and troops (Series I, Boxes 1-2, Civil War)
• Stereographs, real photo postcards, and other images documenting the aftermath of the 1906 San Francisco Earthquake, 1871 Chicago Fire, 1889 Johnstown Flood, 1900 Galveston Hurricane, and other calamities (Series I, Box 3, Disasters)
• Images showing scenes from various American and European events, with an emphasis on the 1876 Centennial Exhibition in Philadelphia (Series I, Box 3, Expositions)
• Images showing mills, factories and people engaged in various occupations, including a boxed set of 50 images related Sears, Roebuck operations produced around 1906 (Series I, Box 3, Industry & Labor)
• Hand-colored early groupings of French theatrical tableaux (Series I, Box 3, Miscellaneous)
• Approximately 109 portrait photographs in different formats of various individuals, including William Jennings Bryan; a boxed set of 50 cartes de visite depicting Danish actors and actresses; cartes de visite of Emperor Napoleon III and the Mikado of Japan; and numerous unidentified subjects represented in real photo postcards (1), tintypes (17), framed/cased ambrotypes, and daguerreotypes (13) (Series I, Box 4, Portraits)
• Approximately 62 images of railroads, mostly in the U.S., including photographs from an 1866 expedition to the 100th meridian on the Union Pacific Railroad while under construction (Series I, Box 5, Railroads)
• Approximately 80 images of ships including warships, freighters, riverboats, passenger ships, shipwrecks (including of the USS Maine), and shipyards mostly in the U.S. with the notable exception of a photo of the 1858 launch of the SS Great Eastern, with Isambard Kingdom Brunel possibly in the crowd. Also of interest are 8 photos and postcards showing ships in World War I-era "dazzle" camouflage (Series I, Box 5, Ships)
• A Keystone View Co. series of images related to World War I (Series I, Box 5, Wars)
• A number of images produced by Keystone View Co. and other stereograph purveyors that focus on major cities such as Boston, New York, Paris, Constantinople, and Jerusalem (throughout Series II & Series III)
• Views from geological expeditions to the American frontier in the 1860s and 1870s (Series II, Unidentified Locations)